Miloš Kordić (1944) belongs to writers who have been on the stage for more than half a century and his oeuvre includes poetry, poetry for children, essays, short stories, novels, nonfiction. Kordić's ...creative attention is constantly focused on the emerging phenomena of the world and the manifestations of life, in which he discovers the sublimation of the new, the world rich in symbols and meanings. He advocates for a non-anthropocentric picture of the world, for surrealist representations of fluid realities and mystical connections between things and phenomena, in which the "realm of meaning" is revealed. His poetry is characterized by a metaphysical obsession with sensations of the miraculous in the sphere of the everyday; creative absorption of the outside world and interweaving of different spheres of physical and metaphysical reality. Kordić very often moved in the spaces of memory and primordial memory or pre-memory (both mythological and historical), spaces of dream - oneiristic and, especially, spaces of metaphysics, observing and sensory perceiving the invisible world in visible, manifest forms; and, perhaps more importantly, in contemporary events. The collection Grlo u rebrima (2023) offers a world of shades and appearances, vague knowledge and undefined spaces, filled with paradoxes, contrasts, illogical images and astonishment. His landscapes are metaphysical, whether they are made up of images of everyday life (images and smells of childhood from Banija, Sunja and Sisak, on the one hand, and images of chaotic daily life in Belgrade caught by war and bombing, on the other hand), or, on the other hand, images of epic and the mythical past, with which, through symbols and dreams, it is constantly called. The motifs and images of his poems carry elements of surrealist poetics, mystery, mysticism, ambiguity and suggestiveness, which is why they can easily be linked to the metaphysical painting of George De Chirico and his famous painting "The Secret and Melancholy of the Street".
This article considers the presence of Latin in art from the beginning of the twentieth century until today. It analyses works by Giorgio de Chirico, Max Ernst, Joseph Kosuth, Giulio Paolini, ...Rosemarie Trockel, Ian Hamilton Finlay and William Kentridge, and compares their engagement with the Latin language. The article is structured according to the different ways in which these artists unsettle the status of Latin, be it through semantic confusion, material recontextualisation or textual destabilising.
We present here the life and the work of Paul A. Castelfranco (1921–2021), a very special person who was not only a top chemist of chlorophyll biosynthesis, but also made major contributions on fatty ...acid oxidation, acetate metabolism and cellular organization. He led an extraordinary and exemplary life as a human being. We present here both his personal life as well as his scientific life, which is followed by reminiscences by William Breidenbach, Kevin Smith, Alan Stemler, Ann Castelfranco, and John Castelfranco. As the subtitle of this Tribute implies, till the end Paul was a scientist par excellence, an intellectual with unlimited curiosity, a humanist, and a man of enduring religious faith. We all miss him dearly.
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A groundbreaking reassessment of Picasso by one of
today's preeminent art historians Picasso and
Truth offers a breathtaking and original new look at the most
significant artist of the modern era. ...From Pablo Picasso's early
The Blue Room to the later Guernica , eminent art
historian T. J. Clark offers a striking reassessment of the
artist's paintings from the 1920s and 1930s. Why was the space of a
room so basic to Picasso's worldview? And what happened to his art
when he began to feel that room-space become too confined-too
little exposed to the catastrophes of the twentieth century? Clark
explores the role of space and the interior, and the battle between
intimacy and monstrosity, in Picasso's art. Based on the A. W.
Mellon Lectures in the Fine Arts delivered at the National Gallery
of Art, this volume remedies the biographical and idolatrous
tendencies of most studies on Picasso, reasserting the structure
and substance of the artist's work. With compelling insight, Clark
focuses on three central works-the large-scale Guitar and
Mandolin on a Table (1924), The Three Dancers (1925),
and The Painter and His Model (1927)-and explores
Picasso's answer to Nietzsche's belief that the age-old commitment
to truth was imploding in modern European culture. Masterful in its
historical contextualization, Picasso and Truth rescues
Picasso from the celebrity culture that trivializes his
accomplishments and returns us to the tragic vision of his
art-humane and appalling, naïve and difficult, in mourning for a
lost nineteenth century, yet utterly exposed to the hell of Europe
between the wars. Published in association with the Center for
Advanced Study in the Visual Arts, National Gallery of Art,
Washington, DC Please note: All images in this ebook are presented
in black and white and have been reduced in size.
Watchtower of De Chirico KATAGIRI, Yuji
Journal of Graphic Science of Japan,
2021, Volume:
55, Issue:
2
Journal Article
The study focuses on the citation from the painter Giorgio de Chirico (1888-1978) in the theory of architectural design of Aldo ROSSI (1931-1997). First, through Rossi's dairy titled “I quaderni ...azzurri (Blue Notebooks)” from first volume to tenth, written during the years from June 1968 to January 1972, it extracts his references on De Chirico and discusses the analogical motives of the “tower” of truncated cone. Then, it detects the design sketches of Town Hall of Muggiò (1971-72) drawn on 25 January 1972, and discusses his intention of its citation of De Chirico's sculpture “Archaeologists” in the square of Town hall. The conical tower in Town Hall of Muggiò is associated with the cupola in Elementary School in Fagnano Olona. designed in the same year. Learned from De Chirico, Rossi applied to his architecture the image of the “tower” of truncated cone, which works as the backdrop in the perspective view and also as the watchtower.
Estudio sobre el arcano término misterio, y presente en el cine de David Lynch, y Alfred Hitchcock, a más de la pintura de René Magritte y Giorgio de Chirico. Por consiguiente, este artículo indaga ...de una manera interdisciplinar y poética dicha facultad, relacionando las obras de artistas muy vinculados con las artes plásticas y con la imagen en movimiento. Recorridos paralelos por el surrealismo, el inconsciente y lo siniestro. Extraños objetos, mansiones lujosas, personajes trastornados, asesinatos sin resolver y, sobre todo, muchas calles con largas sombras. Argumentos y paisajes sublimes que coinciden todos hacia el ritual de lo incógnito. Antesala de futuras adversidades.
A groundbreaking reassessment of Picasso by one of today's preeminent art historians
Picasso and Truth offers a breathtaking and original new look at the most significant artist of the modern era. ...From Pablo Picasso's early The Blue Room to the later Guernica , eminent art historian T. J. Clark offers a striking reassessment of the artist's paintings from the 1920s and 1930s. Why was the space of a room so basic to Picasso's worldview? And what happened to his art when he began to feel that room-space become too confined—too little exposed to the catastrophes of the twentieth century? Clark explores the role of space and the interior, and the battle between intimacy and monstrosity, in Picasso's art. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, this volume remedies the biographical and idolatrous tendencies of most studies on Picasso, reasserting the structure and substance of the artist's work.
With compelling insight, Clark focuses on three central works—the large-scale Guitar and Mandolin on a Table (1924), The Three Dancers (1925), and The Painter and His Model (1927)—and explores Picasso's answer to Nietzsche's belief that the age-old commitment to truth was imploding in modern European culture. Masterful in its historical contextualization, Picasso and Truth rescues Picasso from the celebrity culture that trivializes his accomplishments and returns us to the tragic vision of his art—humane and appalling, naïve and difficult, in mourning for a lost nineteenth century, yet utterly exposed to the hell of Europe between the wars.
Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC
Please note: All images in this ebook are presented in black and white and have been reduced in size.
The article aims to reconstruct the Mario Rimoldi collection path, based on a new analysis of the works hosted at the “Mario Rimoldi” Museum of Modern Art in Cortina d’Ampezzo. The collection, ...comprising 360 works, antiques and an archive fund, was donated by Rosa Braun, the widow of Rimoldi, in 1972 to the Regole d’Ampezzo, thousand-year-old custodians of the local heritage. In 2017, the Renato Balsamo Fund was added to this donation, including further evidence of the original Rimoldi collection, in particular photographic documents and the Libro d’Oro.
Architect Driss Kettani offers us a poetic exposition of the emotional and religious sensations that light, darkness and penumbra can instigate and perpetuate within human consciousness. The play of ...light, position of the observer, shift of colour, and the delicate, complex geometries of the mashrabiyas of the southern Mediterranean all have a role in this dance of light and shade.
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10.
The Shadowy World of Domesticity Spiller, Neil
Architectural design,
July/August 2023, 2023-07-00, 20230701, Volume:
93, Issue:
4
Journal Article
The House to those of a certain Surrealist persuasion is a repository of fears, desires and oscillating chimeric bodies - a mixture of inside and outside. Its windows and doors are its orifices to ...the outside world, its attics and basements contain other worlds of shadowy portent and brooding danger —both physically and psychologically. Yet, as Sylvia Plath noted, even the house's most commodious areas, when read in a certain way, contain miles and miles of shadow. Shadow is both in continual flux but also can be still for decades. The Surrealist house presents itself as a place of mystery and integrating dwelling and dream. Rereading it can probe the relationship between interior and shell, object and space. The haunted house, the cabin of curiosities, the ruined castle, the cage, the cave, the box, the labyrinth, the bell jar, and the womb are among its analogical counterparts.
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